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PETROF PIANOS |
PETROF PIANOS
After an initial career as a joiner, Czech-born Antonin Petrof went on to pursue the art of piano building in the Austrian city of Vienna, releasing his Opus one in 1857. Seven years later he developed his first grand piano model, and by the turn of the century, achieved the status of ‘Court Supplier and Manufacturer of Pianos’ of the Austro-Hungarian Empire. Petrof has since won countless medals and prizes, including the 1975 European Quality Award, and today has five plants with over a thousand employees, making it one of the largest piano manufacturers Europe. Not only does the company have a production department, as well as another one dedicated to design and development, but also a state-of-the-art acoustic research centre with its own high-capacity anechoic measuring chamber.
The current Petrof models include five lengths of grand pianos, with three master concert instruments (P I Mondial, P II and P III M), and another two variants (P IV Chippendale and P IV Rococo), which are all available in four surface finishes (gloss black, gloss white, walnut and polished mahogany). Upright pianos on the other hand are offered in four basic heights (100, 115, 125 and 131 centimetres), with models including Chippendale, Demichippendale, Baroque, Rococo and Antik. And if none of these models suit, the company accepts commissions for a personalised custom upright. The sound board features dense-ridged, radial cut resonant spruce, while European beech is utilised in the construction of the skeletons, and unlike most keyboard manufacturers, Petrof produces the sound boards, pin blocks, keyboards, hammers, strings, metal parts and many other components in their own company workshops.
I recall having played a Petrof once before (at the University of Melbourne), but was in need of a rediscovery tour, so I decided to go and tinkle the ivories at ‘The Piano Shop’ in Oakleigh, where music shop assistant and Petrof convert Brian Carman was kind enough to allow me to musicalize with a whole family of Petrofs. This exercise began with the P III, a walnut, high polish 1930 millimetre-length grand with Renner action. Why does a poor musician head straight for a $44,995 purchase? It’s hard to know why, but let’s say that it’s nice to dream! Although I do believe that before buying any product it is helpful to get an assessment of what the company is about, and in order to do that fairly you do have to check out the largest shelf. "Rich, melodious and tender sound" are the Petrof words of choice when it comes to describing their pianos. Was this my experience? It is always hard to put what our ears hear into words, but I would say that this particular piano had a very bright, clean and warm tone, perhaps not as punchy as a Steinway, but sweeter than a Yamaha. The action was medium light and felt easy to play, but was certainly not spongy, which would probably please most people (hammer hands excluded).
I moved on to the P115, a 115 centimetre high upright, which proved to be a little too soft for us hardened rockers (rock did exist in the eighties). It was very quiet, with dynamics restricted to mezzo forte (something generally expected from a short upright). Perfect for those annoying neighbours beating away with their broomsticks (this used to really happen to me!). No, seriously, this is a perfect learning piano for a child, or someone simply starting out that still remains unaffected by the Spinal Tap legend. The next set of ivories confused me, because here was an almost identical model, a P115 I Chippendale, yet sounding like another class of instrument. I asked Brian how this was so, and he said that as far as he was concerned it was its rightful twin, but had been granted a second tune and a good regulation. Following this experience I came to two conclusions; one being that these are hand-built acoustic instruments, and therefore each must have its own individual stamp; and two, that once set up properly the action and sound can improve dramatically.
The final adventure did bring me (and my budget) back down to earth with the P125 III. This was a composer’s piano, with a price tag of around $14,500, which is not in my bank account at the moment, but an amount that is reasonable. It had a nice solid feel, firm, assured action, and a warm tone – much more body than the 115s due to its larger frame. This piano, just like the grand, seemed suitable for a variety of musical styles, from jazz and classical, to rock. It certainly had the finesse required for subtlety, yet the punch to walk on the wild side
QUALITY
PLAYABILITY
BANG-F0R-YOUR-BUCK
OVERALL